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On its release, Stevie Spielberg’s Band of Brothers movie came under fire and received numerous direct hits fired by credible critics. Still living British World War Two veterans and military historians supported the objections. Many of the lurid claims made in the movie were denounced as ‘a fantasy, a total travesty from beginning to end, a pack of lies and a vainglorious re-writing of history.’

Their terse comments exposed the Jewish producer’s fanciful Hollywood depiction of World War II in which the war is brought to a successful conclusion – by Americans. 

Spielberg is notorious for his syndicated heavily promoted fantasy epics. As a prime example of his view of World War II, there is no mention of the real theatre of operations where the outcome of the war was in fact being decided. The German war of survival was being lost not on the Western Front but on the Eastern Front.

The Wehrmacht and Waffen SS fought desperately to save Europe from the ravaging onslaught of the American-supplied Asiatic hordes. Charles Wheeler, the BBC commentator, was a veteran of World War II. On September 29^, Wheeler protested vehemently at the distortions depicted in the Band of Brothers movie: ‘Contrary to what viewers had falsely been told in advance, the battle depictions were highly exaggerated.’ 

The concentration of sound, gunfire coming from every damned direction was unrealistic. He added that he found Band of Brothers hateful and was astonished the BBC had paid an incredible £6 million for the broadcasting rights. Other veterans protested that the film offers a very narrow contrived view of the war with the British appearing only rarely, as a form of comic relief. The Brits are invariably depicted as bumbling amateurs grateful to be rescued by the heroic Americans.  

Band of Brothers has been described as ‘ludicrous in its suffocating air of reverence.’ The title of the film itself is tacky and the opening credit sequence is nauseatingly repellent. It opens with a constantly recycled syrupy musical score backed by a wordless choir soaring over strings and horn accompaniment.

The sepia stills (shades of Butch Cassidy and the Sundance Kid) of the cast are intended to provide an evocative nostalgic atmosphere. This form of vintage photography was inappropriate for the period when colour film was routinely used. Colour movies started in 1927 so almost 20 years earlier. 

One learned academic described how he felt nauseated with disgust at the distortions, the phoney special effects, the contrived ‘atmospheric’ embellishments and fanciful distortions. Every trick of cinematography was used such as speeding up the movie then slowing it down; shaking the picture with random-looking shots.

Spielberg, a major benefactor of Israel, avoids mention of countless cases of rape and looting carried out by the invading American forces. When U.S General Dwight Eisenhower heard about the scale of depravities being practised by U.S troops he suggested that the public hanging of the worst offenders was the only way to restore order and discipline. It seems he was more concerned with the collapse in the discipline that the crimes themselves.

The appalling behaviour of many U.S. troops towards the French civilian population was such that fifty-five years later, many Americans are despised in northern France. 

Finally, there was an incident in Steve Spielberg’s Band of Brothers version of events that is utterly disgusting although this sort of summary execution was commonplace. A group of young German prisoners-of-war are shown talking to a group of U.S. soldiers in an apparently friendly manner.  The German captives are offered cigarettes and American captors light the cigarettes for them.

At this point in the movie, the camera shifts to reveal a nearby U.S soldier approaching a sub-machine gun and soon afterwards a sudden burst of fire is heard. From this clip, one can draw only the conclusion that the German prisoners of war had been shot down. Such depravities are now entertainment?

Certainly, such incidents were not unknown and were carried out by various allied armies. On the other hand, there was a grudging admission made by the British that, ‘The Germans will always take prisoners.’

The Spielberg fantasy was filmed in Berkshire, one of the southern counties of England’s green and pleasant land. Apart from a few professional actors the cast of hundreds appears to be composed of deadbeats, losers, halfwits and failed ham actors, beggars and professional thugs; a fitting epitaph to a monstrously cheap film.

On the eve of D-Day June 6 1944, the task force of USAAF Dakota aircraft was readied and intended to secure passage into the French countryside from the landing sites of Utah Beach. Many of the relatively inexperienced flight crews were understandably unnerved by the German flak and turned tail as they prepared to disgorge their paratroopers. 

The cataclysmic consequence left the badly led Screaming Eagles scattered over a wide area of western France. Typically, U.S. General Maxwell, their inept commander, was completely lost for several hours. By dawn only 1,200 of the 6,000 U.S. paratroopers had reached their rendezvous. Many of these brave men had perished miserably in the deep waterways which criss-cross the region.  American paratroopers were dragged underwater to a murky death by their heavy equipment. 

Fierce fighting then took place around the town of Carentan where the well-entrenched German troops had been ordered by Field Marshall Erwin Rommel to fight to the last man.  

In the Steve Spielberg film, U.S. Easy Company troops take the town thus preventing a German breakthrough. This is not true. It was another Screaming Eagle Company that led the attack on Carentan on June 11, 1944, which forced a German withdrawal. American losses were heavy.  By mid-July, the 101^st was finally pulled from the front line. Of the 6,600 men involved 868 had been killed in action, nearly 2,000 had been wounded and many hundreds were taken prisoner. EXCERPT: THE ALL LIES INVASION Michael Walsh.

Recommended book: The All Lies Invasion by Michael Walsh

Mike Walsh, author of Witness of History, All Lies Invasion I (Paperback / Ebook), All Lies Invasion II (Paperback / Ebook), Reich and Wrong, Heroes Hang When Traitors Triumph, Heroes of the Reich, Megacaust, Odyssey Adolf Hitler, Trotsky’s White Negroes, Sculptures of the Third Reich: Arno Breker and Reich Sculptors Volume I, Sculptures of the Third Reich: Josef Thorak and Reich Sculptors Volume II, Sculptures of the Third Reich: Porcelain and Reich Sculptors Volume III, Art of Adolf Hitler, The Red Brigands, Ransacking the Reich, The Holy Book of Adolf Hitler, RISE OF THE SUN WHEEL (Paperback / Ebook), Death of a City, and many other books. CLICK the book titles that interest you to gain access.

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